The play "Cyrano" by Edmond Rostad, adapted by Michael Hollinger and Aaron Posner. is being staged by Mother Road Theatre Company at Tricklock Performance Lab, 110 Gold SW. Performances are at the Tricklock Performance Lab, 110 Gold SW at 8 p.m. Friday, Oct. 31 and Saturday, Nov. 1 and 2 p.m. Sunday, Nov. 2. Repeats Nov. 7-9. Tickets are $22 general public, $20 for seniors, students and military with valid ID and are available in advance at www.motherroad.org or at the door. Review by David Steinberg Mother Road Theatre Company's production of "Cyrano" is a wonder to behold. It brings together fine ensemble acting, thrilling dialogue, swift choreographed fights and young love in bloom. Most of all it spills over with Cyrano's satiric, rapid-fire quips and observations. These trigger his defense against would-be critics of his looks and spur his offense against boasters, Casanovas and bad actors. The Mother Road production, directed by Staci Robbins, achieves a good balance between Cyrano and the supporting characters and between his panache and their admiration or resentment of it. The romantic drama is the story of Cyrano de Bergerac as a brave soldier, a romantic poet, a social critic, a wit and who possesses a famously large nose. Additionally, a special love story threads through the play. Cyrano (Christopher Holloway) is quietly enamored with the radiant, spunky Roxane (Katie Becker Colon). But Roxane is in love with the handsome, though witless, Christian (Robin Holloway) and the poetry she attributes to him. However, it is Cyrano's romantic poems and spoken words. The gallant Cyrano, who is hidden to Roxane, permits Christian to woo Roxane. The play, set in 17th century France, is underpinned by the theme that humans are bewitched by physical beauty. The play is a reduction of sorts. Its single-word title "Cyrano" has been reduced from the original "Cyrano de Bergerac." And the Mother Road production uses a script that is a recent adaptation, itself a reduction, of Edmond Rostand's famous 1897 romance. Michael Hollinger and Aaron Posner's wrote the award-winning adaptation. Mother Road's production has 10 named characters; actors double in other, mostly unnamed roles. Rostand's play has about 30, mostly background, characters. The adaptation merges the flavor of Rostand's script with modern English. The 21st century audience benefits from that fusion. (Hollinger did his own translation of the script from the French.) Hollinger and Posner rewrote or substituted lines that make their adaptation more compact. Here's an example. In Rostand's script, two characters, The Bore (not in the adaptation) and the vain aristocrat De Valvert, try to mock's Cyrano's nose, only to have Cyrano's respond with suggested put-downs for them to use against him. He leaves the two characters speechless. First, from the original script. Cyrano: "For instance … Amicable: It must be in your way while drinking; you ought to have a special beaker made! … Blunt: Tell me, monsieur, you, when you smoke, is it possible you blow the vapor through your nose without a neighbor crying, 'The chimney is afire?' …Simple: A monument! When is admission free?" The adaptation has its own insults devised by Cyrano, such as these: "Musical: Please stop bobbing your head. The first violins are losing the beat! …Practical: What a wonderful way to keep the feet dry on a rainy day! … Abrupt: One sneeze and goodbye Belgium!" Three cheers for the supporting cast - Micah Linford as Cyrano's best friend Le Bret, Nicholas Ballas as the womanizing Count De Guiche, Brian Haney as the poetry-loving pastry chef Ragueneau, Matthew Van Wettering as De Valvert, Mark Hisler as the drunk poet Ligniere, Patricia Thompson as Roxane's chaperone Desiree and as Sister Marthe and Kelly O'Keefe as theater manager Bellerose. Michael Blaisdell deservedly gets special credit in the program for his construction of Cyrano's nose. Or is it a peninsula? Like Musical Theatre Southwest's production of "Kiss of the Spider Woman," Mother Road's "Cyrano" demonstrates how to successfully use a black box to tell a dramatic story. One fellow theatergoer captured the production in a sentence: "They put on a clinic!" To me, there was one disappointment in the adaptation. It left out Roxane's well-remembered line: "I never loved but one … and twice I lose him!"